William Tillyer

Ostrow, Saul

Bernard Jacobson Gallery

Before she coined the term “feminist art” and produced the movement’s most iconic work, “The Dinner Party,” Judy Chicago (born 1939) was living in Los Angeles and making work partly inspired by the city’s “Finish Fetish” and “Light and Space” schools--serial abstract pieces characterized by throbbing color, logo-like geometricism and slick production values. Unlike the sculpture of her male Los Angeles contemporaries, however, Chicago’s early sculptures and paintings reveled in bodily--specifically genital--references that distanced her from their concerns and instead began to define the possibilities of a new feminist art. This phase in Chicago’s career, sometimes described as her “Minimal Period,” produced several innovative series: the Hood paintings on Chevy car hoods, which featured heavily stylized vaginas and penises in brightly colored mirrored patterns; abstract sculptural “game boards” that riffed on children’s games and building blocks; several series of small, iridescent acrylic domes arranged in groups of three; and the Flesh Gardens and Fresno Fan series of sprayed acrylic lacquer on acrylic and Prismacolor on paper. Many of these early works exhibit Chicago’s early technical mastery (she attended auto body school and apprenticed with boat workers and pyro-technicians after her graduate student days at UCLA). Spanning the years between 1961 and 1973, Judy Chicago: Deflowered is the first to gather and examine these seminal early works. It includes a DVD of three of her Atmosphere performances, which also date from this time.

Judy Chicago: Deflowered

Arts & Photography

Individual Artists

Nye+Brown/Foundation 2021

In the late 1960s, Bill Bollinger (1939–1988) was considered one of the foremost sculptors of his time, alongside Robert Smithson, Eva Hesse and Richard Serra. In his short life, Bollinger built up a sculptural oeuvre that explored the gravity and intrinsic properties of various (usually industrial) materials. This volume offers an overview.

Bill Bollinger: Water is Life and Like Art it Finds its own Level

Schjeldahl, Peter

Rosenstein, Harris

History & Criticism

Walther König, Köln

Wake of Art (Critical Voices in Art, Theory and Culture)

First Published in 1998. Routledge is an imprint of Taylor &amp; Francis, an informa company.

Wake of Art: Criticism, Philosophy, and the Ends of Taste (Critical Voices in Art, Theory and Culture)

DANTO, Arthur C.

Horowitz, Gregg

Huhn, Tom

Routledge

Beauty is Nowhere: Ethical Issues in Art and Design (Critical Voices in Art, Theory and Culture)

Beauty is Nowhere (Critical Voices in Art, Theory and Culture)

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